Archive for the 'Women in art' Category

Speaking out of turn (by Olga Norris)

I, like Nature, abhor a vacuum, so, even tho’ ’tis not my turn, I am adding a small post here while we catch up with the schedule.
art-image-2-582849578
(Image from here)
It all started with a need to listen to something interesting while I was stitching. I turned to a radio programme broadcast last year – about artists’ studios. Great, because I have an insatiable curiosity about where and how artists work. Even better that the presenter/interviewer was an artist herself: a printmaker of whom I had not heard – Susan Aldworth. And there started a marvellous journey of discovery.
An artist fascinated by the idea of self, Aldworth has examined and used scientific and medical imaging and interventions to do with the brain, including her own brain scans. I was particularly mesmerised by the next programme I listened to: an interview with a friend who has epilepsy, and whose portrait she was making. I was intrigued and moved by the sounds of the epileptic brain!
I followed this immediately with a programme about the printmaker Stanley Jones of Curwen Press. The three programmes together gave me a great deal to think about, and it was not until the following week that I returned to see the film about Susan Aldworth’s latest project called Transience. It involves making prints using slices of brain donated by sufferers of Parkinson’s disease – donated with use in making art included in the purposes agreed by the donors. I found the film compelling viewing, and am still thinking about it all.

I would love to know what anyone thinks of the work and the thinking behind it as discussed in this film.

Behind the scenes at the RA Schools

A visit to the degree show at the Royal Academy Schools got me thinking about the history of art education for women, and the Royal Academy and the position of women within it.

A working environment

A working environment

The Schools are tucked in behind the grandeur of the main RA building – the studio skylights look like a series of sheds that have been tacked on.

Schools corridor (via)

Inside, the corridor is dark, cluttered and a few centuries old. Most of the statues have bits missing (not always just the naughty bits). This place has seen heavy use since the RA moved to Burlington House in 1868.

The life drawing studio in 2010

The life drawing studio in 2010

The bare bones of the life drawing studio, and the collection of casts, look pretty much as it always has, and tucked in along the hallways are other necessities.

A library is housed in locked bookcases

A library is housed in locked bookcases

Other cases house skeletons

Other cases house skeletons

The Schools were founded in 1768 as part of an institution with a mission: “to promote the arts of design in Britain through education and exhibition.” The Royal Academy went on to dominate the art scene of the 18th and 19th centuries, but along the way it somehow lost its women members… first by attrition, and then, says the RA website, “In 1879, the Council of the day came to the conclusion that our original Instrument of Foundation did not allow for women RAs. Eventually, they relented and passed a resolution to make women eligible, but only on the condition of restricted privileges.”

The Summer Exhibition in 1800 (via)

The Summer Exhibition in 1800 (via)

For a long time the RA Schools  was the only established art school in Britain. (Why “Schools”? – because when the RA was first founded, students were required to master a number of different artistic elements in a particular order – eg, drawing from casts before moving on to life drawing. Each element was known as a separate ‘School’.)

1808, drawing by gaslight

1808, drawing by gaslight (via)

Other art education was through private schools and tutelage, which is how any women in Britain who aspired to be an artist got training, unless she went abroad to study. In 1860 the RA started admitting women students – almost by mistake. Selection was by submitted drawings, and when L. Herford turned up, what was assumed to be a Lawrence turned out to be a Laura.

By 1862 there were seven women among an intake of about 25 students a year, and before long they outnumbered the male students – who had migrated to Paris, where the drawing instruction was superior (says Stuart Macdonald in The History and Philosophy of Art Education, 1969) . All students at the RA Schools “spent five or more years in tedious imitation” – and women were banned from life drawing until 1893.

Cast collection in the life drawing room, 2010

Cast collection in the life drawing room, 2010

By the beginning of the 20th century the RA Schools had further competition in the form of the Slade and the Royal College of Art, and the quality of its students declined. Attempts to widen the curriculum to include decorative art got nowhere – it was confined to life-sized painting from the head, and painting and drawing from the nude figure.

Lecture to art and architecture students, 1953 (via)

Lecture to art and architecture students, 1953 (via)

The course lasted up to 10 years before 1853; it runs for three years now, and there are about 60 students in the Schools at a time, doing this postgraduate course. In 1769, 70 students were admitted; then as now, they do not pay fees.

 

Angelika Kauffmann's paintings on the ceiling in the entrance of the RA are hardly noticed by visitors (via)

Angelika Kauffmann’s paintings on the ceiling in the entrance of the RA are hardly noticed by visitors (via)

Spring by Mary Moser (via)

Spring by Mary Moser (via)

Two women, Angelika Kauffmann and Mary Moser, were among the 36 founding members of the RA, but for a long time (until Annie Swynnerton became an associate in 1922, and Laura Knight a full member in 1936) there were no women academicians. Up to 80 practising artists are elected to be academicians ; these currently include 26 women.

 

Academicians are involved in teaching in the Schools and give lectures as part of the RA’s education programme. In 2011 Tracy Emin and Fiona Rae were the first women to be appointed professors, of drawing and painting respectively.

Tracey Emin

Tracey Emin (via)

fiona rae (via)

fiona rae (via)

And now, some work from the current graduates. They’ve had three years with free tuition … but first had to be chosen from some 1000 applicants!

Hold (hole and Plexiglas pole) by Ariane Schick … with a view through to the corridor

Hold (hole and Plexiglas pole) by Ariane Schick … with a view through to the corridor

 

Natalie Dray, part of Zone Heater

Natalie Dray, part of Zone Heater (feel the warmth…) and of 6 Sheet

Hannah Perry, Feeling It, wall-based sound sculpture (it shakes, rattles, and rolls)

Hannah Perry, Feeling It, wall-based sound sculpture (it shakes, rattles, and rolls)

 

Work by Alex Clarke

Work by Alex Clarke

Up the stairs and you’re in the public part of the RA’s grand building … a different place.

ra-stairs

 

Dorothy Caldwell — making art of place (by Kathleen Loomis)

My local fiber and textile art group was privileged to have the internationally known fiber artist Dorothy Caldwell spend a week with us earlier this month teaching workshops.  She also gave a lecture on her activities in the “outback” of two countries, Australia and Canada. These activities have culminated in a show that has just closed in Peterborough, Ontario, and will soon travel to two other venues in Canada.

She points out that Australia and Canada are similar nations in many ways:  They’re both huge countries with the great majority of the population clustered on the edges, with vast expanses of sparsely settled, ecologically fragile territory that few people ever get to see.  They were both British colonies, with substantial numbers of people who were transported there as punishment.  Both are rich in resources.

Dorothy has been traveling to Australia for 20 years on a variety of travel, teaching, study and artist residence programs.  Recently she received a grant from the Canadian government to conduct two parallel art projects on the two continents; in both places she would go to a remote location for several weeks, getting to know it, collecting both natural and manmade artifacts, and dyeing paper and fabric with indigenous plant and earth materials.  Then she made a new set of works reflecting her experiences.

In Australia, she visited a sheep station in the Flinders Ranges of South Australia, north of Adelaide.  In Canada, she went to Pangnirtung on Baffin Island, 1600 miles north of Toronto, close to Greenland.

“My work is about being in a particular place and using what’s there,” she said.  “I want to get out into the landscape, experience the land, get to know a place by handling the materials.”  For instance, she hiked barefoot on the delicate tundra to get a feel for the tiny, stunted vegetation.

On both these visits she brought Japanese handmade paper, tough enough to hold up in a dye pot, and colored them with natural pigments from plants and earth.  She also collected things like rusty nails and broken tools from the sheep shearers, which came home to become part of the “museum” section of her show.

“Collecting has always been an important part of what I do, since I was a little kid,” Dorothy said.  “My way of journaling is collecting.”

After she came home from her trips, she made some of her characteristically huge fiber pieces to reflect her travels and learnings.  Here’s one inspired by the Arctic summer, with 24-hour daylight that often leads people to stay up all night in euphoria.  Dorothy asked one of the locals how they dealt with not being able to distinguish between “day” and “night” and was both chagrined and charmed at the response:  “When we’re tired we go to sleep.”

Dorothy Caldwell, How Do We Know It’s Night, 120 x 114″

Here’s a piece about the fjord on which Pangnirtung is built.

Dorothy Caldwell, Fjord, 120 x 114″ 

I was delighted to observe how she continues her practice of collection and documentation even if she’s not in an exotic place, but somewhere as unspecial as Louisville.

On a day off between workshops we walked over the new pedestrian bridge that spans the Ohio River.  When we got to the Indiana side, Dorothy pulled a plastic bag out of her purse and proceeded to collect stuff to memorialize this place.  She found some mud to daub on a card, writing the date and place on the back, and then dunked some silk into muddy water to dye it.  She repeated the process on the Kentucky side (even though to my eye mud on one side of the river is fairly indistinguishable from mud on the other).

On the Kentucky side we found some deep footprints in the sand at the edge of the river, partially filled with water that had seeped in.  Dorothy looked around, found a root, and used it to stir up the water into an opaque dye-like solution to color her cards and silk.

Here’s the root, the silk, and the card, out to dry in the sun (and the footprint/dye pot).  She took the root home too as a souvenir.

By the end of the week she had assembled a “museum” in her room of her trip to Ohio, Kentucky and Indiana.  There’s the root on the right and the cards in the middle; the silk has been partially twisted into string, and she also collected some bits of rusty metal to round out the display.

 

 

The individual white line (by Olga Norris)

Last summer I signed up for a two day workshop on Japanese woodblock printing.  Circumstances conspired (our car broke down) so that I only attended the first day, but in preparation I had done a bit of research.  The other day I received a lovely card which reminded me of some of that research, and prompted me to seek a little further for this post.

Japanese woodblock prints were popular in the heart of the modern art world in Paris at the time after the Great War when several American artists were visiting.  These artists returned to pass on their enthusiasms, and so it was that some American artists even went to Japan to learn techniques.  Edna Boies Hopkins was one of those.  It was her image of Cascades on the card I received this week.

 

 

 

 

 

 

 

 

 

 

 

Japanese woodblock printing involves making a separate plate for each colour used in the design.  Printmaking in Japan was an industrial process in so far as the publisher commissioned the image from an artist, then the plate makers cut the wood into as many plates as necessary, after which the printers printed each colour onto the very large editions – the prints were extremely popular.  However, for the artists in the burgeoning summer art colony of Provincetown New England this process was too longwinded.  They ingeniously invented white line woodblock printmaking.

This involved cutting a line of separation between different coloured elements in a design, so that each colour could be printed from the same plate.  The result is rather like painted silk using a gutta (glue) outline round each area which is to be coloured.

Here is an excellent post describing the simple stages of the process.  It is mostly women who were known for using this technique.

BLANCHE%202  Blanche Lazzall,

 

 

 

 

 

 

 

 

Ethel  Ethel Mars,

 

 

 

 

 

 

 

 

 

artwork_images  Ada Gilmore Chaffee,

 

 

 

 

 

 

 

 

EBH_Rooftops-1  Edna Boies Hopkins,

 

 

 

 

 

 

 

 

31   Edith Lake Wilkinson,

 

 

 

 

 

 

 

 

Mabel Hewit

Mabel Hewit

 

 

 

 

 

 

 

 

 

are but a few.  There is an excellent section on this seemingly totally American art technique and its artists in the book American Women Modernists edited by Marian Wardle.  (Unfortunately this is now out of print and is being offered for sale online at ridiculous prices!)  And there is more information in an academic paper by Maura Coughlin on Southcoast New England Printmaking.

I am interested to see that these white line printmakers have been influenced by the French artists (Ethel Mars’ work reminds me of Vuillard, for instance), Post Impressionism, with touches of Cubism, but have their own delightful character.  I must say that my favourites are the ones who use the white space for more than simply delineation – as Edna Boies Hopkins does in Cascades.

White line printmaking is becoming popular once more, with new practitioners and workshops offered even in the UK.  I have not tried it yet myself  but I certainly very much like the idea of the technique.

 

Is It the 1960s? (by Karen S. Musgrave)

Invader_KarenMusgrave I had not intended to add to Olga’s discussion on crochet but serendipity played its part so here I am. When Stephanie Lanter’s piece “Invader” arrived at ClaySpace for its national competition and exhibit, Clay3 (work must fit in a 12″ x12″ x12″ cube), it was in eight pieces. When no one else would step up to fix it, I did. This lead me to look further into Stephanie’s work where I would discover porcelain and fiber sculptures that dealt with communication.

My porcelain and fiber sculptures are symbols representations of relations (i.e. communications) with others and ourselves. These intimate ‘phones’ are softened and contextualized with threads and crocheted doilies. Inspired by by the sensuality of antique phones, my use of low-tech process is not a critique of technology but of behavior. I examine dysfunction, loneliness, ‘home,’ and ambivalence through abstraction and excess, and laugh at my obsessions in this realm of connection. Also, I wonder how changing modes of fulfilling this basic need to “reach out and touch” each other–is also changing us.”

ToDelete, PressStar_StephanieLanter

To Delete, Press Star

Jeannie

Jeannie

When I was sharing my discoveries with a friend, she thought I should check out the work of Norma Minkowitz. Norma explores the possibilities of crocheted, interlaced sculptures stiffened into hard mesh-like forms. Her work deals with the passage of time, fragility of life, and  the inevitability of mortality. “Despite the repeated use of the same basic stitch, no two are exactly alike. This conveys the intimacy and imperfection of the human hand while creating a movement akin to the cross hatching of a pen and ink drawing. The interlacing technique that I use makes it possible for me to convey the fragile, the hidden, and the mysterious qualities of my work, in psychological statements that invite the viewer to interpret and contemplate my art. I am still drawing, but with fiber. “

Talking with Olga, she made a comment that it was beginning to feel like the sixties again. “It will be macrame next.” Of course , I had to explore what was happening in macrame and found some incredible artists using this medium. We are most certainly not talking hippie macrame.   Jim (no last name given) creates skulls out of macrame. His website is here. Then there is Ukrainian artist Vladimir Denshchikov who creates religious icons using macrame and painted canvas (only the faces are painted).

I suspect that just like quilts, crochet and macrame have evolved. And I always find it interesting what medium people choose to express themselves. So if this is a reflection of growth from the 1960s, I say, “Rock on!”

jim Macramemacrame-art-19-s


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